Acoustic and sound engineering Books

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Book SynopsisMichel Chion’s landmark Audio-Vision has exerted significant influence on our understanding of sound-image relations since its original publication in 1994. In this updated and expanded edition, Chion considers many additional examples from recent world cinema and formulates new questions for the contemporary media environment.Trade ReviewAn original and useful model for the audiovisual analysis of film. * Production Expert *Updated and expanded, with additional material from recent film production, the 2019 edition of Audio-Vision will soon take its place as a valuable textbook for those interested in literary research and practice of cinematic soundtrack. -- Dr. Nick Poulakis * CINEJ Cinema Journal *Without a shadow of a doubt one of the best books I have ever read, Audio-Vision’s reprinting is a cause for great celebration. After a quarter of a century, it remains the first port of call for scholars and students of audiovisual culture, offering a cornucopia of theories that conceptualize sound's relationship with the moving image. Never less than enthralling, its acuity has not been dulled by more recent theory and scholarship. -- K. J. Donnelly, author of Occult Aesthetics: Synchronization in Sound FilmWhen Audio-Vision first appeared in 1994, it became a lifeline for the burgeoning field of sound/media studies, providing a veritable roadmap to a discourse just beginning to crystallize. The second edition is no less momentous; Chion seamlessly brings current cinematic offerings into his theoretical purview, showing that his understanding of the filmic soundspace is as insightful to historians, theorists, and students as ever. A fundamental text for soundtrack studies. -- Daniel Goldmark, author of Tunes for 'Toons: Music and the Hollywood CartoonMichel Chion’s work is a thrilling exploration of film sound in all its forms: real and symbolic, technical and conceptual, dimensional and suggestive. He gives us all the tools we need for describing what films allow us to hear. Chion’s many neologisms are like notes that can reverberate infinitely for every filmgoer, and through innumerable films. This revised edition of Audio-Vision is a new benchmark for any film scholar. -- Elsie Walker, author of Understanding Sound Tracks Through Film TheoryTable of ContentsForeword (1994), by Walter MurchPrefacePart I. The Audiovisual Contract1. Projections of Sound on Image2. The Three Listening Modes3. Lines and Points: Horizontal and Vertical Perspectives on Audiovisual Relations4. The Audiovisual Scene5. The Real and the Rendered6. Phantom Audio-Vision; or, The Audio-DivisualPart II. Beyond Sounds and Images7. Sound Film Worthy of the Name8. Toward an Audio-Logo-Visual Poetics9. An Introduction to Audiovisual AnalysisGlossaryChronology: Landmarks of the Sound FilmNotesBibliographyIndex

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Book SynopsisHow to interpret identity, culture, and history in soundTrade Review"Compelling and imaginative case studies--air-raid sirens, Warner Brothers cartoons, and clocks--ground this sonic investigation, but just as important is Goodale's work in interpreting sounds as opposed to merely placing them in a larger historical narrative. A major contribution to the study of music, communications, sound, and rhetoric."--John M. Picker, author of Victorian Soundscapes"An important book."--IEEE Technology and Society Magazine"Goodale's book helps us acquire a ... much-needed sonic literacy."--Technology and CultureTable of ContentsList of Illustrations vii Preface ix Acknowledgments xiii 1. Reading Sound 1 2. Fitting Sounds 16 3. Machine Mouth 47 4. The Race of Sound 76 5. Sounds of War 106 6. On Sound Criticism 132 Notes 155 Index 183

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Book SynopsisTrade ReviewBauman is a master of his craft. A Most Valuable Medium enables us to benefit from his vast accumulated knowledge and insights as he explores the early world of phonographic recordings of spoken genres, from street-corner sales pitches to country store tall tales. His is a decidedly important contribution to understanding the rise of broadcasting, which has been widely assumed to begin with the advent of radio in 1920. It is also a major contribution to our understanding of the discourse processes of decontextualization and circulation that are central to the constitution and maintenance of modern public spheres. -- Greg Urban, University of PennsylvaniaTable of ContentsAcknowledgmentsNote on TranscriptionListen to the Records1. Introduction: "A Most Valuable Medium"2. "Come in Here and Hear Them Speak!": Campaign Speeches and Political Publics, with Patrick Feaster3. "Accordin' to the Gospel of Etymology": Aural Blackface and New African American Poetics4. "We Always Enjoy a Good Story": From Monologue to Audio Theater5. "Talking Machine Story Teller": Cal Stewart and the Remediation of Storytelling6. "Somebody Stole My Tune!": Charles Ross Taggart and Country Communicability7. "I Don't See No Mans": Bridging the Schizophonic GapDiscography, by Patrick FeasterReferencesIndex

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Book SynopsisTrade ReviewBauman is a master of his craft. A Most Valuable Medium enables us to benefit from his vast accumulated knowledge and insights as he explores the early world of phonographic recordings of spoken genres, from street-corner sales pitches to country store tall tales. His is a decidedly important contribution to understanding the rise of broadcasting, which has been widely assumed to begin with the advent of radio in 1920. It is also a major contribution to our understanding of the discourse processes of decontextualization and circulation that are central to the constitution and maintenance of modern public spheres. -- Greg Urban, University of PennsylvaniaTable of ContentsAcknowledgmentsNote on TranscriptionListen to the Records1. Introduction: "A Most Valuable Medium"2. "Come in Here and Hear Them Speak!": Campaign Speeches and Political Publics, with Patrick Feaster3. "Accordin' to the Gospel of Etymology": Aural Blackface and New African American Poetics4. "We Always Enjoy a Good Story": From Monologue to Audio Theater5. "Talking Machine Story Teller": Cal Stewart and the Remediation of Storytelling6. "Somebody Stole My Tune!": Charles Ross Taggart and Country Communicability7. "I Don't See No Mans": Bridging the Schizophonic GapDiscography, by Patrick FeasterReferencesIndex

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Book Synopsis"My hope is that by attending to sound I have been able to open up parts of these worlds, not to get a glimpse of them but to listen in. These were worlds much more alive with sound than our own, worlds not yet disenchanted, worlds perhaps even...Trade ReviewLong before Howard Dean howled in Iowa, Quakers in East Jersey were 'tainted with the Ranting Spirit.'... Among their buttoned-up neighbors, the Puritans, these folks were considered possessed in 1675. But what's interesting, observes Richard Rath in this fascinating study, 'How Early America Sounded,' is that all sounds in those days indicated possession.... Rath connects the myriad ways in which sounds exerted social influence.... Finally, and most intriguingly, Rath says we may be living during just such a time again, as the printed transfers some of its authority to a more fluid and ephemeral cyberspace. * The Christian Science Monitor *Mr. Rath rehearses fascinating sound-details from the 17th and 18th centuries, reminding us that what we hear, and how we hear it, is no small part of experience. * The Wall Street Journal *Table of Contents"Those thunders, those roarings": the natural soundscape; from the sounds of things; no corner for the Devil to hide; on the rant; the howling wilderness; conclusions.

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Book Synopsis"My hope is that by attending to sound I have been able to open up parts of these worlds, not to get a glimpse of them but to listen in. These were worlds much more alive with sound than our own, worlds not yet disenchanted, worlds perhaps even...Trade ReviewLong before Howard Dean howled in Iowa, Quakers in East Jersey were 'tainted with the Ranting Spirit.'... Among their buttoned-up neighbors, the Puritans, these folks were considered possessed in 1675. But what's interesting, observes Richard Rath in this fascinating study, 'How Early America Sounded,' is that all sounds in those days indicated possession.... Rath connects the myriad ways in which sounds exerted social influence.... Finally, and most intriguingly, Rath says we may be living during just such a time again, as the printed transfers some of its authority to a more fluid and ephemeral cyberspace. * The Christian Science Monitor *Mr. Rath rehearses fascinating sound-details from the 17th and 18th centuries, reminding us that what we hear, and how we hear it, is no small part of experience. * The Wall Street Journal *

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Book SynopsisThe sounds produced by geophonic, biophonic and technophonic sources are relevant to the function of natural and human modified ecosystems. Passive recording is one of the most non-invasive technologies as its use avoids human intrusion during acoustic surveys and facilitates the accumulation of huge amounts of acoustical data. For the first time, this book collates and reviews the science behind ecoaucostics; illustrating the principles, methods and applications of this exciting new field. Topics covered in this comprehensive volume include; the assessment of biodiversity based on sounds emanating from a variety of environments the best technologies and methods necessary to investigate environmental sounds implications for climate change and urban systems the relationship between landscape ecology and ecoacoustics the conservation of soundscapes and the social value of ecoacoustics areas of potential future research.<Table of Contents List of Contributors xiii Preface xv 1 Ecoacoustics: A New Science 1 Almo Farina and Stuart H. Gage 1.1 Ecoacoustics as a New Science 1 1.2 Characteristics of a Sound 1 1.3 Sound and its Importance 2 1.4 Ecoacoustics and Digital Sensors 3 1.5 Ecoacoustics Attributes 3 1.5.1 Population Census 4 1.5.2 Biological Diversity 4 1.5.3 Habitat Health 4 1.5.4 Time of Arrival/Departure of Migratory Species 4 1.5.5 Diurnal Change 5 1.5.6 Seasonal Change 5 1.5.7 Competition for Frequency 5 1.5.8 Trophic Interactions 5 1.5.9 Disturbance 5 1.5.10 Sounds of the Landscape and People 6 1.6 Ecoacoustics and Ecosystem Management 6 1.7 Quantification of a Sound 7 1.7.1 Species Identification 7 1.7.2 Acoustic Indices 7 1.8 Archiving Ecoacoustics Recordings 8 1.9 Ecological Forecasting 9 References 9 2 The Duality of Sounds: Ambient and Communication 13 Almo Farina and Stuart H. Gage 2.1 Introduction 13 2.2 Vegetation and Ecoacoustics 14 2.2.1 Vegetation Quality and Ecoacoustics 15 2.2.2 Soundscape Indices and Biodiversity 15 2.2.3 Applications of Remote Sensing of Vegetation and Ecoacoustics 16 2.3 Acoustic Resources, Umwelten, and Eco-fields 17 2.4 Sounds as Biological Codes 20 2.5 Sound as a Compass for Navigation 21 2.6 Geophonies from Sacred Sites – How to Incorporate Archeoacoustics into Ecoacoustics 22 2.6.1 The Characteristics of Geophonies 23 2.6.2 Geophonies and Sacred Sites 23 2.6.3 Human Versus Other Animals’ Perception of Sound: The Role of Archeoacoustics 24 References 24 3 The Role of Sound in Terrestrial Ecosystems: Three Case Examples from Michigan, USA 31 Stuart H. Gage and Almo Farina 3.1 Introduction 31 3.2 C1 Visualization of the Soundscape at Ted Black Woods, Okemos, Michigan during May 2016 31 3.2.1 C1 Background 31 3.2.2 C1 Objectives 32 3.2.3 C1 Methods 32 3.2.3.1 C1 Soundscape Metrics 33 3.2.3.2 C1 Weather Factors Affecting Sounds 33 3.2.4 C1 Results 33 3.2.4.1 C1 Patterns of Soundscape Power for Six Frequency Intervals 33 3.2.4.2 C1 Patterns of Soundscape Indices 37 3.2.4.3 C1 Wind Patterns During May 2016 37 3.2.4.4 C1 Rain Patterns During May 2016 37 3.2.4.5 C1 Spectrogram Patterns 41 3.2.5 C1 Discussion 42 3.3 C2 Implications for Climate Change – Detecting First Call of the Spring Peeper 44 3.3.1 C2 Background 44 3.3.2 C2 Methods 44 3.3.3 C2 Results 45 3.3.4 C2 Discussion 47 3.4 C3 Disturbance in Terrestrial Systems: Tree Harvest Impacts on the Soundscape 49 3.4.1 C3 Background 49 3.4.2 C3 Methods 51 3.4.3 C3 Results 52 3.4.3.1 C3 Changes in the Soundscape 52 3.4.3.2 C3 Statistical Influence of Forest Harvest 55 3.4.4 C3 Discussion 55 References 59 4 The Role of Sound in the Aquatic Environment 61 Francesco Filiciotto and Giuseppa Buscaino 4.1 Overview on Underwater Sound Propagation 61 4.1.1 Sound Speed in the Sea 61 4.1.2 Transmission Loss 61 4.1.3 Deep and Shallow Sound Channel and Animal Communication 62 4.2 Sound Emissions and their Ecological Role in Marine Vertebrates and Invertebrates 63 4.2.1 Marine Mammals 63 4.2.2 Fish 64 4.2.3 Crustaceans 65 4.3 Impacts of Anthropogenic Noise in Aquatic Environments 67 4.3.1 Main Anthropogenic Sources of Noise in the Sea 67 4.3.2 The Effects of Anthropogenic Noise on Marine Organisms 68 4.3.2.1 Acoustic Masking and Damage to Hearing System of Marine Organisms 68 4.3.2.2 Biochemical Impacts and Stress Responses 69 4.3.2.3 Behavior Alterations 70 References 71 5 The Acoustic Chorus and its Ecological Significance 81 Almo Farina and Maria Ceraulo 5.1 Introduction 81 5.2 Time of Chorus 82 5.3 The Chorus Hypothesis 86 5.4 Choruses in Birds 87 5.5 Choruses in Amphibians 87 5.6 Choruses in the Marine Environment 88 5.7 Conclusions and Discussion 89 References 89 6 The Ecological Effects of Noise on Species and Communities 95 Almo Farina 6.1 Introduction 95 6.2 The Nature of Noise 96 6.3 Natural Sources of Noise 96 6.4 Anthropogenic Sources of Noise 97 6.5 Effects of Noise on the Animal World 97 6.6 How Animals Neutralize the Effect of Noise 100 6.6.1 Changing Amplitude 100 6.6.2 Changing Frequency 100 6.6.3 Changing Signal Redundancy 101 6.6.4 Changing Behavior 101 6.7 Noise in Marine and Freshwater Systems 101 6.8 Conclusions 102 References 103 7 Biodiversity Assessment in Temperate Biomes using Ecoacoustics 109 Almo Farina and Nadia Pieretti 7.1 Introduction 109 7.2 Sound as Proxy for Biodiversity 110 7.3 Methods and Application of Ecoacoustics 111 7.4 Acoustic Communities as a Proxy for Biodiversity 113 7.5 Problems and Open Questions 114 7.6 Ecoacoustic Events: Concepts and Procedures 116 7.7 Conclusion 122 References 122 8 Biodiversity Assessment in Tropical Biomes using Ecoacoustics: Linking Soundscape to Forest Structure in a Human-dominated Tropical Dry Forest in Southern Madagascar 129 Lyndsay Rankin and Anne C. Axel 8.1 Introduction 129 8.2 Methods 131 8.2.1 Study Area 131 8.2.2 Forest Sampling 132 8.2.3 Soundscape Survey 133 8.2.4 Acoustic Index 133 8.2.5 Mixed Model Analysis 134 8.3 Results 135 8.3.1 Acoustic Index by Season 135 8.3.2 Mixed Model Analyses 137 8.4 Discussion 137 Acknowledgments 141 References 142 9 Biodiversity Assessment and Environmental Monitoring in Freshwater and Marine Biomes using Ecoacoustics 145 Denise Risch and Susan E. Parks 9.1 Introduction 145 9.2 Freshwater Habitats 147 9.2.1 Rivers 147 9.2.1.1 Remote Monitoring of Biotic Signals in the Environment 147 9.2.1.2 Remote Monitoring of the Environment Using Sound in River Habitats 148 9.2.1.3 Anthropogenic Sources of Noise in River Systems 148 9.2.2 Lakes and Ponds 148 9.2.2.1 Remote Monitoring of Biotic Signals in the Environment 149 9.2.2.2 Remote Monitoring of the Environment Using Sound in Lakes and Ponds 149 9.2.2.3 Anthropogenic Sources of Noise in Lakes and Ponds 149 9.3 Marine Neritic Habitats 150 9.3.1 Estuaries and Coastal Habitats 150 9.3.1.1 Remote Monitoring of Biotic Signals in the Environment 150 9.3.1.2 Remote Monitoring of the Environment Using Sound in Estuarine and Coastal Habitats 150 9.3.1.3 Anthropogenic Sources of Noise in Estuarine and Coastal Habitats 152 9.3.2 Coral Reefs 152 9.3.2.1 Remote Monitoring of Biotic Signals in the Environment 152 9.3.2.2 Remote Monitoring of the Environment Using Sound in Coral Reef Environments 153 9.3.2.3 Anthropogenic Sources of Noise in Coral Reef Environments 153 9.4 Marine Oceanic Habitats 153 9.4.1 Open Ocean and Deep Sea Habitats 153 9.4.1.1 Remote Monitoring of Biotic Signals in the Environment 154 9.4.1.2 Remote Monitoring of the Environment Using Sound in the Open Ocean 154 9.4.1.3 Anthropogenic Sources of Noise in the Open Ocean 154 9.4.2 Polar Oceans 155 9.4.2.1 Remote Monitoring of Biotic Signals in the Environment 155 9.4.2.2 Remote Monitoring of the Environment with Sound in Polar Regions 155 9.4.2.3 Anthropogenic Sources of Noise in the Polar Regions 156 9.5 Summary and Future Directions 156 References 158 10 Integrating Biophony into Biodiversity Measurement and Assessment 169 Brian Michael Napoletano 10.1 Introduction 169 10.1.1 Biodiversity and its Parameterization 170 10.2 Biological Information in the Soundscape 171 10.2.1 Physiology: Sound Production and Detection 174 10.2.2 Communication: Medium and Context 176 10.2.3 Coordination: Evolution of the Biophony 178 10.2.4 Adaptation: Mechanization of the Soundscape 180 10.3 Ecoacoustics in Biodiversity Assessment 182 10.3.1 Developing a Soundscape Monitoring Network 182 10.3.2 Acoustic Data Processing and Management 183 10.4 Conclusion 184 References 185 11 Landscape Patterns and Soundscape Processes 193 Almo Farina and Susan Fuller 11.1 An Introduction to Landscape Ecology (Theories and Applications) 193 11.1.1 Patch Size, Shape, and Isolation 193 11.1.2 Patch‐Matrix Context 194 11.2 Relationship Between Landscape Ecology and Soundscape Ecology: A Semantic Approach 195 11.2.1 The Contribution of Landscape Ecology to the Development of Ecoacoustics 196 11.2.2 Acoustic Heterogeneity in a Landscape Across Space and Time 197 11.3 Acoustic Community and Landscape Mosaics 199 11.4 Ecoacoustics in a Changing Landscape 202 11.5 Conclusion 203 References 204 12 Connecting Soundscapes to Landscapes: Modeling the Spatial Distribution of Sound 211 Timothy C. Mullet 12.1 Introduction 211 12.2 Conceptualizing Soundscapes in Space and Time 211 12.3 Capturing Soundscapes in Space and Time 212 12.4 Sound Metrics and Interpreting Nature 213 12.5 A Soundscape Metric for Modeling 215 12.6 Discriminating the Components of a Soundscape 216 12.7 Generating a Predictive Soundscape Model 217 12.8 Conclusion 219 Disclaimer 221 References 221 13 Soil Acoustics 225 Marisol A. Quintanilla‐Tornel 13.1 Introduction 225 13.2 Soil Insect Acoustics 226 13.3 Compost Activating Agent Acoustics 226 13.4 Soil Aggregate Slaking Acoustics 227 13.5 Conclusion 230 References 231 14 Fundamentals of Soundscape Conservation 235 Gianni Pavan 14.1 Introduction 235 14.2 Nature Sounds in Science and Education 238 14.3 The Role of Sound Libraries 242 14.4 Noise Pollution, the Acoustic Habitat, and the Biology of Disturbance 243 14.5 Soundscapes, Nature Conservation, and Public Awareness 244 14.6 Marine Soundscapes 245 14.6.1 Ship Noise 246 14.7 Conclusion 251 14.7.1 Terrestrial Soundscapes 252 14.7.2 Marine and Aquatic Soundscapes 252 Acknowledgment 252 References 252 15 Urban Acoustics: Heartbeat of Lansing, Michigan, USA 259 Stuart H. Gage and Wooyeong Joo 15.1 Introduction 259 15.2 Objectives 260 15.3 Methods 261 15.3.1 Sampling Design 261 15.3.2 Recording at Sample Sites 262 15.3.3 Data Conversion 262 15.3.4 Data Processing 262 15.4 Results 264 15.4.1 The NDSI 264 15.4.2 The H, ADI, AEI, ACI, and BIO Indices 267 15.5 Discussion and Conclusions 267 References 271 16 Analytical Methods in Ecoacoustics 273 Stuart H. Gage, Michael Towsey and Eric P. Kasten 16.1 Introduction 273 16.2 Components of an Acoustic Recording 275 16.3 Visualization of an Acoustic Recording 276 16.3.1 Frequency Analysis 276 16.3.2 Three‐Dimensional Spectrogram 277 16.4 Processing Multiple Recordings 277 16.5 Analyzing Acoustic Time Series 279 16.6 Time Series of Acoustic Indices 281 16.7 Searching and Symbolic Methods 282 16.7.1 Searching a Recording for Anomalies 284 16.7.2 Symbolic Representations and Unsupervised Learning 285 16.8 Visualization and Navigation of Long‐Duration Recordings 286 16.9 Spectrogram Pyramids 289 16.9.1 Diel Plots 289 16.10 New Approaches to Analysis 291 16.11 Web Platforms for the Visualization of Environmental Audio 291 References 293 17 Ecoacoustics and its Expression through the Voice of the Arts: An Essay 297 David Monacchi and Bernie Krause 17.1 Introduction 297 17.2 Immersive Art as a Science Dissemination Tool 299 17.3 Examples of Ecoacoustic Works by Bernie Krause 302 17.4 Examples of Ecoacoustics Works by David Monacchi 306 17.4.1 Designing Temples for the Ear: The Ecoacoustic Theater 309 17.4.2 Soundscape Projection Ambisonics Control Engine (S.P.A.C.E.) 310 17.5 Conclusion 311 References 311 18 Ecoacoustics Challenges 313 Stuart H. Gage and Almo Farina 18.1 Introduction 313 18.2 Philosophical Issues 313 18.3 Ecological Issues 314 18.4 Sensor Technology 315 18.5 Acoustic Computations and Modeling 316 18.6 Public Information 316 18.7 Monetary Issues 317 References 317 Index 321

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Book SynopsisModern Theatres 19502020 is an investigation of theatres, concert halls and opera houses in Asia, Europe, the Middle East and North and South America.The book explores in detail 30 of the most significant theatres, concert halls, opera houses and dance spaces that opened between 1950 and 2010. Each theatre is reviewed and assessed by experts in theatre buildings, such as architects, acousticians, consultants and theatre practitioners, and illustrated with full-colour photographs and comparative plans and sections. A further 20 theatres that opened from 2009 to 2020 are concisely reviewed and illustrated.An excellent resource for students of theatre planning, theatre architecture and architectural design, Modern Theatres 1950 2020 discusses the role of performing arts buildings in cities, explores their public and performances spaces and examines the acoustics and technologies needed in a great building. This beautifulTable of ContentsChapter 1.00: Aspects of Modern Theatres 1.01. Edwin O. Sachs – A British Theatrical Enigma David Wilmore 1.02. Cities, global and regenerating David Staples 1.03. Theatres and publicness Bostjan Vuga 1.04. Prevailing Themes in 20th Century Theatre Architecture Joshua Dachs 1.05. Towards a new theatre architecture: developments in Britain after 1950 Alistair Fair 1.06. Front of House moves to the forefront Robert Shook 1.07. Concert Halls, Music, and Audiences Chris Blair 1.08. The Modern Opera House Nicholas Payne 1.09. Playhouses and spaces for drama Tim Foster 1.10. Stage Engineering Systems Mark Ager 1.11. Stage Lighting Mark White 1.12. Sound, and Opera’s Dirty Little Secret Chris Full 1.13. New Technologies and Performance Raj Patel 1.14. Acoustics and the Modern Theatre Sebastien Jouan Chapter 2.00: Thirty Significant Theatres 1950 to 2010 Chapter 3.00: Fifties 3.01. Royal Festival Hall, 1951, London, UK Miles Glendinning and Sebastien Jouan 3.02. Festival Theatre, 1957, Stratford, Ontario, Canada Gary McCluskie 3.03. Kalita Humphreys Theater, 1959, Dallas, Texas David Staples 3.04. Musiktheater im Revier, 1959, Gelsenkirchen, Germany Elain Harwood Chapter 4.00: Sixties 4.01. Arena Stage, Washington, DC, USA Joshua Dachs 4.02. Bunka Kaikan, 1961, Tokyo, Japan Shozo Motosugi 4.03. Philharmonie, 1963, Berlin, Germany Karin Winkelsesser Chapter 5.00: Seventies 5.01. Finlandia Hall, 1971, Helsinki, Finland David Staples 5.02. Sydney Opera House, 1973, Sydney, Australia David Staples 5.03. Teatro Regio, 1971, Torino, Italy David Staples and Simone Solinas 5.04. Royal National Theatre, 1976, London, UK Patrick Dillon 5.05. Royal Exchange Theatre, 1976, Manchester, England Andy Hayles Chapter 6.00: Eighties 6.01. Schaubühne at Lehniner Platz, 1981, Berlin, Germany Reinhold Daberto 6.02. Arts Centre Melbourne, 1982, Melbourne, Australia Tim Brinkman 6.03. Joyce Theater, 1982, New York, NY, USA Elizabeth Bradley 6.04. Derngate, 1983, Northampton, England Roger Hopwood 6.05. Lucent Danstheater, 1987, The Hague, Netherlands Eric Blom and Lian The 6.06. Opéra Bastille, 1989, Paris, France Michel da Costa Gonçalves Chapter 7.00: Nineties 7.01. Sadler’s Wells Theatre, 1998, London, UK Richard York Chapter 8.00: New Millennium 8.01. The Lowry, 2000, Salford, United Kingdom Alistair Fair 8.02. Esplanade – Theatres on the Bay, 2002, Singapore Gaurav Kripalani 8.03. Walt Disney Concert Hall, 2003, Los Angeles, California, USA Carl Giegold 8.04. KÀ Theater, 2004, MGM Grand Hotel, Las Vegas, AZ, USA David Barbour 8.05. Matsumoto Performing Arts Centre, 2004, Matsumoto, Japan Shozo Motosugi 8.06. Casa da Música, 2005, Porto, Portugal Maria Rita Liberal Arnaut 8.07. Auditório Ibirapuera ‘Oscar Niemeyer’, 2005, São Paulo, Brazil Claudia Toni 8.08. National Center for the Performing Arts, 2007, Beijing, China Jörg Kümmel 8.09. Operahuset, 2008, Oslo, Norway David Turnbull 8.10. National Opera House, 2008, Wexford, Ireland David Staples 8.11. DR Koncerthuset, 2009, Copenhagen, Denmark Allan Xenius Grige 8.12. Guangzhou Opera, 2010, Guangzhou, China David Staples Chapter 9.00: Snapshots of twenty theatres – 2011 to 2020 - David Staples 9.01. Dee and Charles Wyly Theatre, 2009, Dallas, Texas, USA Karin Winkelsesser 9.02. Onassis Cultural Centre, 2010, Athens, Greece Karin Winkelsesser 9.03. New World Center, 2011, Miami, FL, USA Karin Winkelsesser 9.04. Royal Opera House, 2011, Muscat, Oman Karin Winkelsesser 9.05. Harpa, 2011, Reykjavik, Iceland David Staples 9.06. Royal Shakespeare Theatre, 2011, Stratford-upon-Avon Alistair Fair 9.07. Heydar Aliyev Center, 2012, Baku, Azerbaijan David Staples 9.08. `A`ali`ikūhonua Creative Arts Center, 2012, Seabury Hall, Maui, USA David Staples 9.09. Musiktheater am Volksgarten, 2013, Linz, Austria Karin Winkelsesser 9.10. Everyman Theatre, 2014, Liverpool, UK Alistair Fair 9.11. Han Show Theatre, 2014, Wuhan, China Karin Winkelsesser 9.12. Harbin Opera House, 2015, Harbin, China David Staples 9.13. Dubai Opera, 2016, Dubai, UAE Karin Winkelsesser 9.14. Stavros Niarchos Foundation Cultural Center, 2017, Athens, Greece Karin Winkelsesser 9.15. Boulez Saal, 2017, Berlin, Germany Karin Winkelsesser 9.16. Elbphilharmonie, 2017, Hamburg, Germany Karin Winkelsesser 9.17. Bridge Theatre, 2017, London, UK David Staples 9.18. National Kaohsiung Center for the Arts, 2018, Taiwan Karin Winkelsesser 9.19. The Shed, The Bloomberg Building, 2019, New York David Staples 9.20. Xiqu Centre, 2019, Hong Kong David Staples Chapter 10.00: Conclusions 10.01. Postscript – "The Ghost Light" Chapter 11.00: Modern Theatres contributors

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Book SynopsisOne of the Next Big Idea Club's Favorite Nonfiction Books A Behavioral Scientist Notable Book of 2022 A legendary record producer–turned–brain scientist explains why you fall in love with music.Trade Review"This Is What It Sounds Like is a revelation. Susan Rogers and Ogi Ogas offer extraordinary insights about music, emotion, and the brain, and they deliver them with great flair and flow. For all I thought I knew about these subjects, I learned a lot from this book—and was entertained at every turn, both by the ideas and the poetry of their expression. This instant classic should be read by anyone who has ever been moved by a piece of music—in other words, everyone." -- Dr. Daniel J. Levitin, author of This Is Your Brain on Music and The Organized Mind"A deliciously nerdy resource for music lovers, and for anyone who thinks deeply about music and how it moves them. What Rogers and Ogas do with This Is What It Sounds Like is distill the science around music into an accessible and wonderous new level of understanding, of the elusive why of loving and living for music." -- Jessica Hopper, author of The First Collection of Criticism by a Living Female Rock Critic"Susan Rogers found her superpower in the music world not as a musician, but as a master listener. Rogers’ book is a gift to music listeners of all kinds—because in listening we hear not only the music, we hear the sonic signature of our own soul." -- Dan Charnas, author of Dilla Time: The Life and Afterlife of J Dilla, the Hip-Hop Producer Who Reinvented Rhythm"Susan is one of the smartest people in the world of music and this book will help you hear music more deeply and more thoughtfully. You can tell why Prince loved working with her." -- Touré, author of I Would Die 4 U: Why Prince Became an Icon"This is the book that scholars and fans of popular music across all disciplines have impatiently waited for. It is truly inspiring, the kind of book you fall in love with, that causes us to reflect over how and why records become a condition of the heart." -- Stan Hawkins, Professor of Musicology, University of Oslo"[A] pitch-perfect deep-dive into the power of music….Combining erudite analysis with plenty of soul, this will have music lovers rapt." -- Publishers Weekly (starred review)"An intriguing look at how what enters our ears shapes our minds." -- Kirkus Reviews"It’s like two books in one: stories of some of our most beloved musicians, singers and songwriters, coupled with insights about how and why our brains decipher musical notes, melodies and lyrics in particular ways." -- BookPage (starred review)

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Book SynopsisContains a foreword by Jens Blauert! This book systematically details the basic principles and applications of head-related transfer function (HRTF) and virtual auditory display (VAD), and reviews the latest developments in the field, especially those from the author's own state-of-the-art research group. Head-Related Transfer Function and Virtual Auditory Display covers binaural hearing and the basic principles, experimental measurements, computation, physical characteristics analyses, filter design, and customization of HRTFs. It also details the principles and applications of VADs, including headphone and loudspeaker-based binaural reproduction, virtual reproduction of stereophonic and multi-channel surround sound, binaural room simulation, rendering systems for dynamic and real-time virtual auditory environments, psychoacoustic evaluation and validation of VADs, and a variety of applications of VADs. This guide provides all the necessary knowledge and latest results for researchers, graduate students, and engineers who work in the field of HRTF and VAD.Trade Review"I find the book excellent and, as indicated by Professor Jens Blauert (whom I have known since 1986 and whose opinions I value and trust), it is extremely thorough, multifaceted, detailed, mathematically deep, yet clear - I agree. I give it an extremely positive review. The summary concluding each chapter or section is particularly valuable, an excellent idea and feature...I give the book top rank." - Wade R. Bray, HEAD acoustics, Inc.; "This book provides a thorough and comprehensive analysis of issues relevant to HRTFs. Many of them have not been covered in such a detailed, clear way in any other book. Professor Xie has devoted a considerable amount of time and effort creating a work that appeals to readers' demands. The international acoustical community will be pleased to have access to its important scientific and technological content, now available with this English translation." -Jens Blauert, Internationally renowned expert in spatial hearingTable of ContentsChapter 1: Spatial Hearing and Virtual Auditory Display 1.1. Spatial Coordinate Systems1.2. The Auditory System and Auditory Filter 1.2.1. The Auditory System and its Function 1.2.2. The Critical Band and Auditory Filter1.3. Spatial Hearing1.4. Localization Cues for a Single Sound Source 1.4.1. Interaural Time Difference 1.4.2. Interaural Level Difference 1.4.3. Cone of Confusion and Head Movement 1.4.4. Spectral Cue 1.4.5. Discussion on Directional Localization Cues 1.4.6. Auditory Distance Perception1.5. Head-Related Transfer Functions1.6. Summing Localization and Spatial Hearing with Multiple Sources 1.6.1. Summing Localization of Two Sound Sources and the Stereophonic Law of Sine 1.6.2. Summing Localization Law of More Than Two Sound Sources 1.6.3. Time Difference between Sound Sources and the Precedence Effect 1.6.4. Cocktail Party Effect1.7. Room Acoustics and Spatial Hearing 1.7.1. Sound Fields in Enclosed Spaces 1.7.2. Spatial Hearing in Enclosed Spaces1.8. Binaural Recording and Virtual Auditory Display 1.8.1. Artificial Head Models 1.8.2. Binaural Recording and Playback System 1.8.3. Virtual Auditory Display 1.8.4. Comparison with Multi-channel Surround Sound1.9. SummaryChapter 2: HRTF Measurements2.1. Transfer Function of a Linear-time-invariant (LTI) System and its Measurement Principle 2.1.1. Continuous-Time LTI System 2.1.2. Discrete-Time LTI System 2.1.3. Excitation Signals2.2. Principle and Design of HRTF Measurements 2.2.1. Overview 2.2.2. Subjects in HRTF Measurements 2.2.3. Measuring Point and Microphone Position 2.2.4. Measuring Circumstances and Mechanical Devices 2.2.5. Loudspeaker and Amplifier 2.2.6. Signal Generation and Processing 2.2.7. HRTF Equalization 2.2.8. Example of HRTF Measurement 2.2.9. Evaluation of Quality and Errors in HRTF Measurements2.3. Far-field HRTF Databases2.4. Some Specific Measurement Methods and Near-field HRTF Measurements 2.4.1 Some Specific HRTF measurement methods 2.4.2 Near-field HRTF Measurement 2.5. SummaryChapter 3: Primary Features of HRTFs3.1. Time- and Frequency-domain Features of HRTFs 3.1.1. Time-domain Features of Head-related Impulse Responses (HRIRs) 3.1.2. Frequency-domain Features of HRTFs 3.1.3. Minimum-phase Characteristics of HRTFs3.2. Interaural Time Difference (ITD) Analysis 3.2.1. Methods for Evaluating ITD 3.2.2. Calculation Results for ITD3.3. Interaural Level Difference (ILD) Analysis3.4. Spectral Features of HRTFs 3.4.1. Pinna-related Spectral Notches 3.4.2. Torso-related Spectral Cues3.5. Spatial Symmetry in HRTFs 3.5.1. Front-back Symmetry 3.5.2. Left-right Symmetry 3.5.3. Symmetry of ITD3.6. Near-field HRTFs and Distance Perception Cues3.7. HRTFs and Other Issues Related to Binaural Hearing3.8. SummaryChapter 4: Calculation of HRTFs 4.1. Spherical Head Model for HRTF Calculation 4.1.1. Determining Far-field HRTFs and their Characteristics on the Basis of a Spherical Head Model 4.1.2. Analysis of Interaural Localization Cues 4.1.3. Influence of Ear Location 4.1.4. Effect of Source Distance 4.1.5. Further Discussion on the Spherical Head Model4.2. Snowman Model for HRTF Calculation 4.2.1. Basic Concept of the Snowman Model 4.2.2. Results for the HRTFs of the Snowman Model4.3. Numerical Methods for HRTF Calculation 4.3.1. Boundary Element Method (BEM) for Acoustic Problems 4.3.2. Calculation of HRTFs by BEM 4.3.3. Results for BEM-based HRTF Calculation 4.3.4 Simplification of Head Shape 4.3.5. Other Numerical Methods for HRTF Calculation 4.4. SummaryChapter 5: HRTF Filter Models and Implementation5.1. Error Criteria for HRTF Approximation5.2. HRTF Filter Design: Model and Considerations 5.2.1. Filter Model for Discrete-time Linear-time-invariant (LTI) System 5.2.2. Basic Principles and Model Selection in HRTF Filter Design 5.2.3. Length and Simplification of Head-related Impulse Responses (HRIRs) 5.2.4. HRTF Filter Design Incorporating Auditory Properties 5.3. Methods for HRTF Filter Design 5.3.1. Finite Impulse Response (FIR) Representation 5.3.2. Infinite Impulse Response (IIR) Representation by Conventional Methods 5.3.3. Balanced Model Truncation for IIR Filter 5.3.4. HRTF Filter Design Using the Logarithmic Error Criterion 5.3.5. Common-acoustical-pole and Zero Model of HRTFs 5.3.6. Comparison of Results of HRTF Filter Design 5.4. Structure and Implementation of HRTF Filter5.5. Frequency-warped Filter for HRTFs 5.5.1. Frequency Warping 5.5.2. Frequency-warped Filter for HRTFs5.6. SummaryChapter 6: Spatial Interpolation and Decomposition of HRTFs 6.1. Directional Interpolation of HRTFs 6.1.1. Basic Concept of HRTF Directional Interpolation 6.1.2. Some Common Schemes for HRTF Directional Interpolation 6.1.3. Performance Analysis of HRTF Directional Interpolation 6.1.4. Problems and Improvements of HRTF Directional Interpolation6.2. Spectral Shape Basis Function Decomposition of HRTFs 6.2.1. Basic Concept of Spectral Shape Basis Function Decomposition 6.2.2. Principal Components Analysis (PCA) of HRTFs 6.2.3. Discussion of Applying PCA to HRTFs 6.2.4. PCA Results for HRTFs 6.2.5. Directional Interpolation under PCA Decomposition of HRTFs 6.2.6. Subset Selection of HRTFs6.3. Spatial Basis Function Decomposition of HRTFs 6.3.1. Basic Concept of Spatial Basis Function Decomposition 6.3.2. Azimuthal Fourier Analysis and Sampling Theorem of HRTFs 6.3.3. Analysis of Required Azimuthal Measurements of HRTFs 6.3.4. Spherical Harmonic Function Decomposition of HRTFs 6.3.5. Spatial Principal Components Analysis and Recovery of HRTFs from a Small Set of Measurements6.4. HRTF Spatial Interpolation and Signal Mixing for Multi-channel Surround Sound 6.4.1. Signal Mixing for Multi-channel Surround Sound 6.4.2. Pairwise Signal Mixing 6.4.3. Sound Field Signal Mixing 6.4.4. Further Discussion on Multi-channel Sound Reproduction6.5. Simplification of Signal Processing for Binaural Virtual Source Synthesis 6.5.1. Virtual Loudspeaker-based Algorithms 6.5.2. Basis Function Decomposition-based Algorithms6.6. Beamforming Model for Synthesizing Binaural Signals and HRTFs 6.6.1. Spherical Microphone Array for Synthesizing Binaural Signals 6.6.2. Other Array Beamforming Models for Synthesizing Binaural Signals and HRTFs 6.7. SummaryChapter 7: Customization of Individualized HRTFs7.1. Anthropometric Measurements and their Correlation with Localization Cues 7.1.1. Anthropometric Measurements 7.1.2. Correlations among Anthropometric Parameters and HRTFs or Localization Cues7.2. Individualized Interaural Time Difference (ITD) Model and Customization 7.2.1. Extension of the Spherical Head ITD Model 7.2.2. ITD Model Based on Azimuthal Fourier Analysis7.3. Anthropometry-based Customization of HRTFs 7.3.1. Anthropometry Matching Method 7.3.2. Frequency Scaling Method 7.3.3. Anthropometry-based Linear Regression Method7.4. Subjective Selection-based HRTF Customization7.5. Notes on Individualized HRTF Customization7.6. Structural Model of HRTFs 7.6.1. Basic Idea and Components of the Structural Model 7.6.2. Discussion and Improvements of the Structural Model7.7. SummaryChapter 8: Binaural Reproduction through Headphones8.1. Equalization of the Characteristics of Headphone-to-Ear Canal Transmission 8.1.1. Principle of Headphone Equalization 8.1.2. Free-field and Diffuse-field Equalization8.2. Repeatability and Individuality of Headphone-to-ear-canal Transfer Functions (HpTFs) 8.2.1. Repeatability of HpTF Measurement 8.2.2. Individuality of HpTFs8.3. Directional Error in Headphone Reproduction8.4. Externalization and Control of Perceived Virtual Source Distance in Headphone Reproduction 8.4.1. In-head Localization and Externalization 8.4.2. Control of Perceived Virtual Source Distance in Headphone Reproduction8.5. SummaryChapter 9: Binaural Reproduction through Loudspeakers9.1. Basic Principle of Binaural Reproduction through Loudspeakers 9.1.1. Binaural Reproduction through a Pair of Frontal Loudspeakers 9.1.2. General Theory for Binaural Reproduction through Loudspeakers 9.2. Head Rotation and Loudspeaker Reproduction 9.2.1. Virtual Source Distribution in Two-Front Loudspeaker Reproduction 9.2.2. Transaural Synthesis for Four-Loudspeaker Reproduction 9.2.3. Analysis of Dynamic Localization Cues in Loudspeaker Reproduction 9.2.4. Stability of the Perceived Virtual Source Azimuth against Head Rotation9.3. Head Translation and Stability of Virtual Sources in Loudspeaker Reproduction 9.3.1. Preliminary Analysis of Head Translation and Stability 9.3.2. Stereo Dipole 9.3.3. Quantitative Analysis of Stability against Head Translation 9.3.4. Linear System Theory for the Stability of Crosstalk Cancellation9.4. Effects of Mismatched HRTFs and Loudspeaker Pairs 9.4.1. Effect of Mismatched HRTFs 9.4.2. Effect of Mismatched Loudspeaker Pairs9.5. Coloration and Timbre Equalization in Loudspeaker Reproduction 9.5.1. Coloration and Timbre Equalization Algorithms 9.5.2. Analysis of Timbre Equalization Algorithms 9.6. Some Issues on Signal Processing in Loudspeaker Reproduction 9.6.1. Causality and Stability of a Crosstalk Canceller 9.6.2. Basic Implementation Methods for Signal Processing in Loudspeaker Reproduction 9.6.3. Other Implementation Methods for Signal Processing in Loudspeaker Reproduction 9.6.4. Bandlimited Implementation of Crosstalk Cancellation9.7. Some Approximate Methods for Solving the Crosstalk Cancellation Matrix 9.7.1. Cost Function Method for Solving the Crosstalk Cancellation Matrix 9.7.2. Adaptive Inverse Filter Scheme for Crosstalk Cancellation9.8. SummaryChapter 10: Virtual Reproduction of Stereophonic and Multi-channel Surround Sound 10.1 Binaural Reproduction of Stereophonic and Multi-channel Surround Sound through Headphones 10.1.1 Binaural Reproduction of Stereophonic Sound through Headphones 10.1.2 Basic Algorithm for Headphone-based Binaural Reproduction of 5.1 Channel Surround Sound 10.1.3 Improved Algorithm for Binaural Reproduction of 5.1 Channel Surround Sound through Headphones 10.1.4 Notes on Binaural Reproduction of Multi-channel Surround Sound10.2 Algorithms for Correcting Non-standard Stereophonic Loudspeaker Configurations10.3 Stereophonic Enhancement Algorithms10.4 Virtual Reproduction of Multi-channel Surround Sound through Loudspeakers 10.4.1 Virtual Reproduction of 5.1 Channel Surround Sound 10.4.2 Improvement of Virtual 5.1 Channel Surround Sound Reproduction through Stereophonic Loudspeakers 10.4.3 Virtual 5.1 Channel Surround Sound Reproduction through More than Two Loudspeakers 10.4.4 Notes on Virtual Surround Sound10.5 SummaryChapter 11: Binaural Room Modeling11.1 Physics-based Methods for Room Acoustics and Binaural Room Impulse Response (BRIR) Modeling 11.1.1 BRIR and Room Acoustics Modeling 11.1.2 Image-source Methods for Room Acoustics Modeling 11.1.3 Ray-tracing Methods for Room Acoustics Modeling 11.1.4 Other Methods for Room Acoustics Modeling 11.1.5 Source Directivity and Air Absorption 11.1.6 Calculation of Binaural Room Impulse Responses11.2 Artificial Delay and Reverberation Algorithms 11.2.1 Artificial Delay and Discrete Reflection Modeling 11.2.2 Late Reflection Modeling and Plain Reverberation Algorithm 11.2.3 Improvements on Reverberation Algorithm 11.2.4 Application of Delay and Reverberation Algorithms to Virtual Auditory Environments 11.3 SummaryChapter 12: Rendering System for Dynamic and Real-time Virtual Auditory Environments (VAEs) 12.1 Basic Structure of Dynamic VAE Systems 12.2 Simulation of Dynamic Auditory Information 12.2.1 Head Tracking and Simulation of Dynamic Auditory Information 12.2.2 Dynamic Information in Free-field Virtual Source Synthesis 12.2.3 Dynamic Information in Room Reflection Modeling 12.2.4 Dynamic Behaviors in Real-time Rendering Systems 12.2.5 Dynamic Crosstalk Cancellation in Loudspeaker Reproduction12.3 Simulation of Moving Virtual Sources12.4 Some Examples of Dynamic VAE Systems12.5 SummaryChapter 13: Psychoacoustic Evaluation and Validation of Virtual Auditory Displays (VADs) 13.1 Experimental Conditions for the Psychoacoustic Evaluation of VADs 13.2 Evaluation by Auditory Comparison and Discrimination Experiment 13.2.1 Auditory Comparison and Discrimination Experiment 13.2.2 Results of Auditory Discrimination Experiments13.3 Virtual Source Localization Experiment 13.3.1 Basic Methods for Virtual Source Localization Experiments 13.3.2 Preliminary Analysis of the Results of Virtual Source Localization Experiments 13.3.3 Results of Virtual Source Localization Experiments13.4 Quantitative Evaluation Methods for Subjective Attributes 13.5 Further Statistical Analysis of Psychoacoustic Experimental Results 13.5.1 Statistical Analysis Methods 13.5.2 Statistical Analysis Results13.6 Binaural Auditory Model and Objective Evaluation of VADs13.7 Summary Chapter 14: Applications of Virtual Auditory Displays (VADs) 14.1 VADs in Scientific Research Experiments14.2 Applications of Binaural Auralization 14.2.1 Application of Binaural Auralization in Room Acoustics 14.2.2 Existing Problems in Room Acoustic Binaural Auralization 14.2.3 Other Applications of Binaural Auralization14.3 Applications in Sound Reproduction and Program Recording14.4 Applications in Virtual Reality, Communication, and Multimedia 14.4.1 Applications in Virtual Reality 14.4.2 Applications in Communication 14.4.3 Applications in Multimedia and Mobile Products14.5 Applications in Clinical Auditory Evaluations14.6 Summary Appendix A: Spherical Harmonic FunctionsAppendix B: Multipole Re-expansions for Calculating the HRTFs of the Snowman ModelReferences Index

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Book SynopsisThe book presents a broad-scope analysis of piezoelectric electromechanical transducers and the related aspects of practical transducer design for underwater applications. It uses an energy method for analyzing transducer problems that provides the physical insight important for the understanding of electromechanical devices. Application of the method is first illustrated with transducer examples that can be modeled as systems with a single degree of freedom, (such as spheres, short cylinders, bars and flexural disks and plates made of piezoelectric ceramics). Thereupon, transducers are modeled as devices with multiple degrees of freedom. In all these cases, results of modeling are presented in the form of equivalent electromechanical circuits convenient for the calculation of the transducers’ operational characteristics. Special focus is made on the effects of coupled vibrations in mechanical systems on transducer performance. The book also provides extensive coverage of acoustic radiation including acoustic interaction between the transducers. The book is inherently multidisciplinary. It provides essential background regarding the vibration of elastic passive and piezoelectric bodies, piezoelectricity, acoustic radiation, and transducer characterization. Scientists and engineers working in the field of electroacoustics and those involved in education in the field will find this material useful not only for underwater acoustics, but also for electromechanics, energy conversion and medical ultrasonics. Part II contains general information on vibration of mechanical systems, electromechanical conversion in the deformed piezoceramic bodies, and acoustic radiation that can be used independently for treatment transducers of different type.

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Book SynopsisThis book describes in detail the use of duplex ultrasound for exploration of the superficial veins and their pathology. It has a practical orientation, presenting numerous clinical situations and explaining how to identify the different sources of reflux, especially in the groin. The investigation of pathology of the saphenous trunks, perforators and side branches is described in detail. As duplex ultrasound plays an important role during various venous surgical procedures, its application pre, intra and postoperatively is presented. Furthermore, the sonographic appearances of thrombotic pathology of superficial and deep veins, edema and other conditions that may be observed while exploring the veins are fully described. The book is based on the authors’ extensive clinical experience and is intended to assist fellow practitioners who want to learn more about the technique it will be equally valuable for physicians and technicians. A wealth of informative images is included with the aim of covering every potential situation.Trade ReviewFrom the book reviews:“This book starts with the basics of ultrasound and venous anatomy and then delves into the specifics of evaluation of the superficial venous system. … The intended audience includes all practitioners involved in the diagnosis and treatment of patients with chronic venous diseases. The book does a great job of pairing ultrasound figures with descriptive text to aid in visual learning. Readers can find additional supplementary images and videos online.” (Michael Nooromid, Doody’s Book Reviews, January, 2015)Table of ContentsThe Ultrasound Scanner.- Anatomy of the superficial veins. Pathophysiology of the superficial venous system.- Ultrasound based classifications of varicose veins.- Duplex Ultrasound examination of superficial leg veins.- Flow provocation manoeuvres for the diagnosis of venous disease using duplex ultrasound.- Examination of the great saphenous vein.- Examination of the small saphenous vein.- Perforating veins.- Tributaries.- Superficial vein thrombosis.- Ultrasound in varicose vein treatment.- Ultrasound after venous intervention.- Deep leg veins.- Examination of superficial veins in the presence of deep venous disease.- Differential diagnosis of leg oedemas of venous and lymphatic origin.- Incidental findings during a venous examination of the leg.

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Book SynopsisThis book on mechanical vibrations and noise engineering offers tools for addressing vibration and noise issues in machines and structures. It focuses on mechanical engineering applications, includes examples, and covers sound levels, noise effects, and regulations. Suitable for students and practicing engineers in various engineering disciplines.

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Book SynopsisUltrasound guidance of liver surgery is a very sophisticated approach that permits the performance of otherwise unfeasible operations, discloses the true extent of tumors, increases the indications for hepatectomy, and renders surgery safer. Despite this, it has remained relatively neglected in the literature over the past two decades, during which time much progress has been achieved. This is the first atlas on the subject, and it is comprehensive in scope. The state of the art in the use of ultrasound for resection guidance is carefully documented, and new techniques for exploration of the biliary tract and facilitation of transplant surgery are presented. Further important topics include the role of ultrasound in laparoscopic approaches, the use of contrast agents for diagnosis and staging, and developments in the planning of surgical strategy. The editor is a leading authority whose group has been responsible for a variety of advances in the field. He has brought together other experts whose aim throughout is to provide clear information and guidance on the optimal use of ultrasound when performing liver surgery. This atlas is intended especially for hepatobiliary surgeons but will also be of considerable value for general surgeons.Trade ReviewFrom the reviews:“This atlas of ultrasound-guided liver surgery, written mainly by University of Milan faculty, effectively uses color pictures of the intraoperative field along with corresponding ultrasound images. … The audience is hepatobiliary surgeons and trainees who want to learn how to use intraoperative ultrasound or who want to step up their skills in it to guide complex resection. … It is filled with excellent pictures, images, and diagrams that help readers understand very complex concepts.” (Hisakazu Hoshi, Doody’s Book Reviews, June, 2014)Table of ContentsPart I Introductory aspects: 1 Technological requirements for ultrasound-guided liver surgery.- 2 Technical tricks to start exploring the liver with ultrasound.- 3 Exploring the liver with ultrasound following its anatomical features.- Part II Diagnosis and Staging: 4 Diagnosis and staging: intraoperative ultrasound.- 5 Diagnosis and staging: contrast enhanced intraoperative ultrasound and intravascular contrast agents.- 6 Contrast-enhanced intraoperative ultrasound using liver-specific contrast agents.- Part III Hepatobiliary Surgery: 7 Planning of the surgical strategy.- 8 Resection guidance.- 9 Intraoperative cholangio-ultrasound in the study of the biliary tree.- Part IV Liver Transplantation: 10 Liver transplantation from deceased donors.- 11 Liver transplantation from living donors.- Part V Minimally Invasive Surgery and Interventional Procedures: 12 Laparoscopic ultrasonography: impact in liver surgery.- 13 Ultrasound-guided intraoperative ablation therapies.- 14 Robotic ultrasound-guided liver resections.- 15 Conclusions: future perspectives for the use of ultrasound in liver surgery.

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Book SynopsisThis book basically involves the study of flight parameters, wing beat frequency, moment of inertia, and wing movements for developing various aerodynamic forces which have been calculated. The book is intended for biologists, physicists, nanotechnologists, and aerospace engineers. Resilin, an elastic polymer (4 λ) which is present at the base of insect, plays a major role in Neurogenic and Myogenic insect flyers and influences the physiology of flight muscles. Leading edge vortex (LEV) is a special feature of insect flight. Insect wings have stalling angle above 60 degrees as compared to a man-made aeroplane stalling angle which is 16 degree. Reynolds number, the knowledge of LEV, and detailed study of moment of inertia help in developing flapping flexible wings for micro-aerial-vehicles. This book serves as an interface between biologists and engineers interested to develop biomimicking micro-aerial-vehicles. The contents of this book is useful to researchers and professionals alike.Table of Contents1. Introduction to Insect Flight.- 2. Flight a Retrospect a Brief Review.- 3. Aerodynamic Considerations.- 4. Flight Morphology and Flight Muscles.- 5. Types of Textures in Insect Wings and Classification.- 6. Theories on Hovering Flight of Insects-A Brief Review.- 7. Moment of Inertia and Mutilation Studies of Insect Wing.- 8. Chitinous Membranes and Analogous Materials.- 9. Aeroelasticity.- 10. Insect Migration.- 11. MAV Design Aspects and MEMS. 12. Bio-mimicking MAVs and Insect Flight.- 13. Navigation – A General Overview.- 14. WINGBEAT FREQUENCY THEORIES- A Mathematical Approach.- 15. Comments on Bio-physics of Insect Flight (Present and Future).- Bibliography.- Index

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Book SynopsisWorship Sound Spaces unites specialists from architecture, acoustic engineering and the social sciences to encourage closer analysis of the sound environments within places of worship. Gathering a wide range of case studies set in Europe, Asia, North America, the Middle East and Africa, the book presents investigations into Muslim, Christian and Hindu spaces. These diverse cultural contexts demonstrate the composite nature of designing and experiencing places of worship. Beginning with a historical overview of the three primary indicators in acoustic design of religious buildings, reverberation, intelligibility and clarity, the second part of this edited collection offers a series of field studies devoted to perception, before moving onto recent examples of restoration of the sound ambiances of former religious buildings. Written for academics and students interested in architecture, cultural heritage, acoustics, sensory studies and sound.The multimedia documents ofTable of ContentsIntroduction: Religious Listenings: A multidisciplinary approach Christine Guillebaud and Catherine Lavandier PART 1. Sonic architecture: Acoustic intentions in worship buildings 1. Characterizing the acoustics of places of worship: Should we believe in acoustic indicators? Marc Asselineau 2. Towards a history of architectural acoustics using archeological evidence: What recent research on the uses of acoustic pots contributes to understanding of the quest for sound quality in 11th to 17th century churches Jean-Christophe Valière and Bénédicte Palazzo-Bertholon 3. Temple soundspaces and ancient Hindu ritual texts Gérard Colas PART 2. Experiencing the sacred through sound 4. The worldmaking ways of church bells: Three stories about the Cathedral Notre-Dame de Paris Gaspard Salatko 5. What should the reverberation inside a masjid be? A study exploring the demands of Imams Ahmed Elkhateeb 6. ‘Soundwalks in Shiva temple’: A situated approach to perceived ambiance Christine Guillebaud 7. Bells, auspiciousness and the god of music: Reflections on sound in ritual space in Nepalese Hindu traditions Astrid Zotter 8. Resonant voices and spatial politics: An acoustemology of citizenship in a Muslim neighbourhood of the Kenyan coast Andrew J. Eisenberg PART 3. Restoring the sound ambiances of the past 9. The church beyond worship: Experiencing monumental soundspaces in the Roman Catholic churches of Montréal (Québec, Canada) Josée Laplace 10. Sound heterotopia in a Cistercian monastery Pascal Joanne 11. The original acoustics of the sixteenth-century Mughal heritage of Burhanpur (India) Amit J. Wahurwagh Akshay P. Patil Alpana R. Dongre AFTERWORD A world of attunements Jean-Paul Thibaud

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Book SynopsisDoing Research in Sound Design gathers chapters on the wide range of research methodologies used in sound design. Editor Michael Filimowicz and a diverse group of contributors provide an overview of cross-disciplinary inquiry into sound design that transcends discursive and practical divides.The book covers Qualitative, Quantitative and Mixed Methods inquiry. For those new to sound design research, each chapter covers specific research methods that can be utilized directly in order to begin to integrate the methodology into their practice. More experienced researchers will find the scope of topics comprehensive and rich in ideas for new lines of inquiry. Students and teachers in sound design graduate programs, industry-based R&D experts and audio professionals will find the volume to be a useful guide in developing their skills of inquiry into sound design for any particular application area.Table of ContentsVolume Introduction Michael Filimowicz1. Sound Design ThinkingVincent Meelberg2. Meaning-making and Embodied Cognition in Sound Design Research Stephen Roddy and Brian Bridges3. Mapping Space and Time in the Soundtrack: Embodied Cognition and the Soundtrack’s Spatiotemporal Contract Adam Melvin and Brian Bridges4. Measuring People’s Cognitive and Emotional Response: Psychophysiological Methods to Study Sound DesignEmma Rodero5. Watching and Evaluating Simultaneously: an Approach to Measure the Expressive Power of Sound Design in a Moving PictureMaximilian Kock 6. Using a Semiotic Approach to the Practice of Sound DesignLeo Murray 7. Audi(o) Branding and Object Sounds in an Audio-visual Setting – the Case of the CarNicolai Jørgensgaard Graakjær 8. Designing and Reporting Research on Sound Design and Music for Health - Methods and Frameworks for ImpactKjetil Falkenberg Hansen and Emma Frid9. Practice-led and Interdisciplinary Research: Investigating Affective Sound DesignStuart Cunningham and Jon Weinel10. Research-creation as a Generative Approach to Sound DesignProphecy Sun, Kate Hennessey, Kristin Carlson11. The Soundscape Approach: New Opportunities in Sound Design PracticeIan Thompson12. Developing a Sound Design Creative A.i. MethodologyMiles Thorogood 13. Sonification Research: Overview and Emerging TopicsSandra Pauletto, Roberto Bresin14. Sound Design in the Context of SonificationVisda Goudarzi15. Creating and Evaluating Aesthetics in SonificationNuria Bonet 16. Revealing Industry Culture: a Cultural Ethnographic Approach to Post-production Sound Vanessa Ament17. Sound Design as Viewed by Sound Designers: a Questionnaire About People, Practice, and DefinitionsLaura Zattra, Nicolas Donin, David Fierro, Frank Pecquet, and Nicolis Misdarlis18. Qualitative, Pragmatic, and Hermeneutic Inquiries in Electroacoustic Compositions: Selected Case StudiesMaria Kallionpää19. The Bold and the Beautiful Methods of Sound Experience Research: An Introduction to Mixing the Qualitative and Quantitative Study of the Subjective Experience of Sound and Music in Video GamesHans-Peter Gasselseder Index

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Book SynopsisDoing Research in Sound Design gathers chapters on the wide range of research methodologies used in sound design. Editor Michael Filimowicz and a diverse group of contributors provide an overview of cross-disciplinary inquiry into sound design that transcends discursive and practical divides.The book covers Qualitative, Quantitative and Mixed Methods inquiry. For those new to sound design research, each chapter covers specific research methods that can be utilized directly in order to begin to integrate the methodology into their practice. More experienced researchers will find the scope of topics comprehensive and rich in ideas for new lines of inquiry. Students and teachers in sound design graduate programs, industry-based R&D experts and audio professionals will find the volume to be a useful guide in developing their skills of inquiry into sound design for any particular application area.Table of ContentsVolume Introduction Michael Filimowicz1. Sound Design ThinkingVincent Meelberg2. Meaning-making and Embodied Cognition in Sound Design Research Stephen Roddy and Brian Bridges3. Mapping Space and Time in the Soundtrack: Embodied Cognition and the Soundtrack’s Spatiotemporal Contract Adam Melvin and Brian Bridges4. Measuring People’s Cognitive and Emotional Response: Psychophysiological Methods to Study Sound DesignEmma Rodero5. Watching and Evaluating Simultaneously: an Approach to Measure the Expressive Power of Sound Design in a Moving PictureMaximilian Kock 6. Using a Semiotic Approach to the Practice of Sound DesignLeo Murray 7. Audi(o) Branding and Object Sounds in an Audio-visual Setting – the Case of the CarNicolai Jørgensgaard Graakjær 8. Designing and Reporting Research on Sound Design and Music for Health - Methods and Frameworks for ImpactKjetil Falkenberg Hansen and Emma Frid9. Practice-led and Interdisciplinary Research: Investigating Affective Sound DesignStuart Cunningham and Jon Weinel10. Research-creation as a Generative Approach to Sound DesignProphecy Sun, Kate Hennessey, Kristin Carlson11. The Soundscape Approach: New Opportunities in Sound Design PracticeIan Thompson12. Developing a Sound Design Creative A.i. MethodologyMiles Thorogood 13. Sonification Research: Overview and Emerging TopicsSandra Pauletto, Roberto Bresin14. Sound Design in the Context of SonificationVisda Goudarzi15. Creating and Evaluating Aesthetics in SonificationNuria Bonet 16. Revealing Industry Culture: a Cultural Ethnographic Approach to Post-production Sound Vanessa Ament17. Sound Design as Viewed by Sound Designers: a Questionnaire About People, Practice, and DefinitionsLaura Zattra, Nicolas Donin, David Fierro, Frank Pecquet, and Nicolis Misdarlis18. Qualitative, Pragmatic, and Hermeneutic Inquiries in Electroacoustic Compositions: Selected Case StudiesMaria Kallionpää19. The Bold and the Beautiful Methods of Sound Experience Research: An Introduction to Mixing the Qualitative and Quantitative Study of the Subjective Experience of Sound and Music in Video GamesHans-Peter Gasselseder Index

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Book SynopsisFinding Your Career in the Modern Audio Industry equips the reader with the skills they need to turn an interest in audio, sound, or music technology into a career.This book provides insight for aspiring professionals seeking audio-related opportunities in entertainment, technology, education, and more. In the audio industry, there is typically a gap between those in-training and those with professional (and financially sustainable) careers. This book bridges the information gap, offering practical and real-world advice to those in this volatile stage of their career. Including 70+ interviews with professionals from over 20 countries, Finding Your Career in the Modern Audio Industry offers insight into how others (across the industry and the world) have applied entrepreneurial thinking, problem-solving, and creative solutions to build their careers.Including international case studies and interviews with diverse professionals, Finding Your Career iTrade Review"When I received word about this book, I first thought "How could anyone write about finding a career in the audio biz?" The possibilities and personal experiences of this lifelong process are simply too big and varied to write about. Then, I started reading and, WOW, through the use of straightforward talk and first-hand excerpts from industry pro experiences, I think she nailed it! I'm a huge fan of anyone who'll take the time to help others find their way in the audio and music production industry. We all need guidance to make it through our own personal maze in life. I'd truly recommend it to anyone who wants to devote their life towards getting and maintaining a career in the music industry." David Miles Huber, 4X Grammy-nominated musician and producer"April’s book contains immensely valuable information and detailed advice for anyone trying to carve out a career in the audio industry where freelancing is now the norm. The interviews with so many varied professionals are especially informative – they form a tapestry of different experiences from which April draws out the key messages and common themes. It is refreshing to hear from so many different voices in the audio world, and I really wish I had been able to read this book 20 years ago! I can recommend this to anyone currently working in audio, whatever their career stage, but especially to those trying to start out."Caroline Haigh, Institute of Sound Recording, University of Surrey"You need non-audio skills to succeed in the audio industry. April Tucker’s Finding Your Career in the Modern Audio Industry spells it out, showing a structure and a process for introspective assessments of your goals, your limits, your dreams, as well as essential outward-facing action: networking, job searching, marketing yourself, and more. Business acumen can’t be ignored, and can be mastered: negotiating rates and salaries, contracts, accounting, etc. You might be focused on one career path, but this book widens your view to full range of possibilities in the wide world of audio. With quotes and advice from folks across all facets of the industry throughout each chapter, Tucker’s book is a pleasure to read, and you’ll see there is no mystery to beginning your career in the modern audio industry."Alex U. Case, Sound Recording Technology, University of Massachusetts LowellTable of ContentsAcknowledgementsPrefacePart 1 – PlanningPart 1 helps the reader define their personal preferences, challenges and barriers and how that can affect the direction of a career path. These chapters teach the fundamentals of networking, business relationships, marketing, sales, and finding opportunities, all of which are critical foundational skills towards any career in the entertainment or audio industry. Industry Introduction Defining Your Dream & Goals Defining Your Barriers Networking Business Relationships Preparing to Seek Out Opportunities The Search for Work Marketing & Sales (How to Land the Gig) What Makes You Stand Out? Part 2 – Operations Part 2 addresses the logistics of operating a business, whether doing an occasional freelance gig or making a living off of freelance work. These chapters help readers with common business concerns: learning how to set rates, create an invoice, offers and contracts, and managing financial information. Rates and Knowing Your Worth Offers, Bids & Contracts Accounting & Financial Planning for Your Business Part 3 - Career Paths Part 3 takes the principles and ideas of the earlier chapters and puts them into practice. Each chapter addresses the needs specific or unique to these industries. These chapters are largely based on quotes, interviews, stories, and case studies. What business advice would someone who’s been through it give to someone who’s just getting started? Live Sound & Theater Music Production Interactive Media (Game Audio) Sound for Picture (Broadcast, Production & Post-Production) Spoken Word Audio Beyond Entertainment Part 4 The Audio Industry Around the World Q&A Moving Forward Appendix: Bios of intervieweesSupplemental material available online Recommendations, sample contracts, other resources Index

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Book SynopsisFinding Your Career in the Modern Audio Industry equips the reader with the skills they need to turn an interest in audio, sound, or music technology into a career.This book provides insight for aspiring professionals seeking audio-related opportunities in entertainment, technology, education, and more. In the audio industry, there is typically a gap between those in-training and those with professional (and financially sustainable) careers. This book bridges the information gap, offering practical and real-world advice to those in this volatile stage of their career. Including 70+ interviews with professionals from over 20 countries, Finding Your Career in the Modern Audio Industry offers insight into how others (across the industry and the world) have applied entrepreneurial thinking, problem-solving, and creative solutions to build their careers.Including international case studies and interviews with diverse professionals, Finding Your Career iTrade Review"When I received word about this book, I first thought "How could anyone write about finding a career in the audio biz?" The possibilities and personal experiences of this lifelong process are simply too big and varied to write about. Then, I started reading and, WOW, through the use of straightforward talk and first-hand excerpts from industry pro experiences, I think she nailed it! I'm a huge fan of anyone who'll take the time to help others find their way in the audio and music production industry. We all need guidance to make it through our own personal maze in life. I'd truly recommend it to anyone who wants to devote their life towards getting and maintaining a career in the music industry." David Miles Huber, 4X Grammy-nominated musician and producer"April’s book contains immensely valuable information and detailed advice for anyone trying to carve out a career in the audio industry where freelancing is now the norm. The interviews with so many varied professionals are especially informative – they form a tapestry of different experiences from which April draws out the key messages and common themes. It is refreshing to hear from so many different voices in the audio world, and I really wish I had been able to read this book 20 years ago! I can recommend this to anyone currently working in audio, whatever their career stage, but especially to those trying to start out."Caroline Haigh, Institute of Sound Recording, University of Surrey"You need non-audio skills to succeed in the audio industry. April Tucker’s Finding Your Career in the Modern Audio Industry spells it out, showing a structure and a process for introspective assessments of your goals, your limits, your dreams, as well as essential outward-facing action: networking, job searching, marketing yourself, and more. Business acumen can’t be ignored, and can be mastered: negotiating rates and salaries, contracts, accounting, etc. You might be focused on one career path, but this book widens your view to full range of possibilities in the wide world of audio. With quotes and advice from folks across all facets of the industry throughout each chapter, Tucker’s book is a pleasure to read, and you’ll see there is no mystery to beginning your career in the modern audio industry."Alex U. Case, Sound Recording Technology, University of Massachusetts LowellTable of ContentsAcknowledgementsPrefacePart 1 – PlanningPart 1 helps the reader define their personal preferences, challenges and barriers and how that can affect the direction of a career path. These chapters teach the fundamentals of networking, business relationships, marketing, sales, and finding opportunities, all of which are critical foundational skills towards any career in the entertainment or audio industry. Industry Introduction Defining Your Dream & Goals Defining Your Barriers Networking Business Relationships Preparing to Seek Out Opportunities The Search for Work Marketing & Sales (How to Land the Gig) What Makes You Stand Out? Part 2 – Operations Part 2 addresses the logistics of operating a business, whether doing an occasional freelance gig or making a living off of freelance work. These chapters help readers with common business concerns: learning how to set rates, create an invoice, offers and contracts, and managing financial information. Rates and Knowing Your Worth Offers, Bids & Contracts Accounting & Financial Planning for Your Business Part 3 - Career Paths Part 3 takes the principles and ideas of the earlier chapters and puts them into practice. Each chapter addresses the needs specific or unique to these industries. These chapters are largely based on quotes, interviews, stories, and case studies. What business advice would someone who’s been through it give to someone who’s just getting started? Live Sound & Theater Music Production Interactive Media (Game Audio) Sound for Picture (Broadcast, Production & Post-Production) Spoken Word Audio Beyond Entertainment Part 4 The Audio Industry Around the World Q&A Moving Forward Appendix: Bios of intervieweesSupplemental material available online Recommendations, sample contracts, other resources Index

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Book SynopsisThe application of good acoustic design can seem daunting to designers when trying to understand the often-complex physics of sound control. The ever-increasing number of standards and performance criteria that can be requested on new developments further complicates acoustics for architects. Architectural Acoustics, part of the PocketArchitecture series, provides the fundamental theory and understanding of acoustics and applications of effective detailing for specific building types and conditions in an accessible and clear technical guide.The book provides: a compact and understandable introduction to the fundamentals of building and architectural acoustics definitions of suitable acoustic performance criteria for a wide range of common buildings and room types guidance on specification and detailing of the most suitable construction types in North America and the UK. This book is both, aTrade Review"The science of acoustics as applied to buildings is complex and, worse still for the architect, surveyor and engineer, often apparently counter-intuitive. ‘Architectural Acoustics’ lifts the lid on the subject, clearly explaining the underlying principles and setting out useful and practical solutions for dealing with noise in all types of building. It should be the essential reference source for those involved in the design and delivery of new buildings and will be equally valuable to those working in the field of refurbishment and building alterations." Dave Baker OBE HonDEng FRICS FCIOB, Chief Executive, Robust Details Limited"Jaramillo and Steel have produced a handy reference where an architect, and others, can turn when basic information about acoustics is needed – from basic concepts to spaces ranging from educational buildings to hotels and just about everything in between." - Journal of the Audio Engineering SocietyTable of ContentsAcknowledgements Part 1: Principles 1. Basic Concepts 2. Interaction of Sound Wave and Medium 3. Human Hearing 4. Sound Measurements 5. Noise 6. Room Acoustics Part 2: Applications 7. Educational Buildings 8. Healthcare 9. Offices 10. Theaters/Auditoriums 11. Concert Halls 12. Dwellings 13. Commercial 14. Hotels Appendix A: Design Tables and Equations Appendix B: Performance Criteria Appendix C: Performance Specifications Index

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Book SynopsisFundamentals of architectural and building acoustics along with practical guidance on acoustic design in common building typesTrade Review"The science of acoustics as applied to buildings is complex and, worse still for the architect, surveyor and engineer, often apparently counter-intuitive. ‘Architectural Acoustics’ lifts the lid on the subject, clearly explaining the underlying principles and setting out useful and practical solutions for dealing with noise in all types of building. It should be the essential reference source for those involved in the design and delivery of new buildings and will be equally valuable to those working in the field of refurbishment and building alterations." Dave Baker OBE HonDEng FRICS FCIOB, Chief Executive, Robust Details Limited"Jaramillo and Steel have produced a handy reference where an architect, and others, can turn when basic information about acoustics is needed – from basic concepts to spaces ranging from educational buildings to hotels and just about everything in between." - Journal of the Audio Engineering SocietyTable of ContentsAcknowledgements Part 1: Principles 1. Basic Concepts 2. Interaction of Sound Wave and Medium 3. Human Hearing 4. Sound Measurements 5. Noise 6. Room Acoustics Part 2: Applications 7. Educational Buildings 8. Healthcare 9. Offices 10. Theaters/Auditoriums 11. Concert Halls 12. Dwellings 13. Commercial 14. Hotels Appendix A: Design Tables and Equations Appendix B: Performance Criteria Appendix C: Performance Specifications Index

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Book SynopsisWorship Sound Spaces unites specialists from architecture, acoustic engineering and the social sciences to encourage closer analysis of the sound environments within places of worship. Gathering a wide range of case studies set in Europe, Asia, North America, the Middle East and Africa, the book presents investigations into Muslim, Christian and Hindu spaces. These diverse cultural contexts demonstrate the composite nature of designing and experiencing places of worship. Beginning with a historical overview of the three primary indicators in acoustic design of religious buildings, reverberation, intelligibility and clarity, the second part of this edited collection offers a series of field studies devoted to perception, before moving onto recent examples of restoration of the sound ambiances of former religious buildings. Written for academics and students interested in architecture, cultural heritage, acoustics, sensory studies and sound.The multimedia documents ofTable of ContentsIntroduction: Religious Listenings: A multidisciplinary approach Christine Guillebaud and Catherine Lavandier PART 1. Sonic architecture: Acoustic intentions in worship buildings 1. Characterizing the acoustics of places of worship: Should we believe in acoustic indicators? Marc Asselineau 2. Towards a history of architectural acoustics using archeological evidence: What recent research on the uses of acoustic pots contributes to understanding of the quest for sound quality in 11th to 17th century churches Jean-Christophe Valière and Bénédicte Palazzo-Bertholon 3. Temple soundspaces and ancient Hindu ritual texts Gérard Colas PART 2. Experiencing the sacred through sound 4. The worldmaking ways of church bells: Three stories about the Cathedral Notre-Dame de Paris Gaspard Salatko 5. What should the reverberation inside a masjid be? A study exploring the demands of Imams Ahmed Elkhateeb 6. ‘Soundwalks in Shiva temple’: A situated approach to perceived ambiance Christine Guillebaud 7. Bells, auspiciousness and the god of music: Reflections on sound in ritual space in Nepalese Hindu traditions Astrid Zotter 8. Resonant voices and spatial politics: An acoustemology of citizenship in a Muslim neighbourhood of the Kenyan coast Andrew J. Eisenberg PART 3. Restoring the sound ambiances of the past 9. The church beyond worship: Experiencing monumental soundspaces in the Roman Catholic churches of Montréal (Québec, Canada) Josée Laplace 10. Sound heterotopia in a Cistercian monastery Pascal Joanne 11. The original acoustics of the sixteenth-century Mughal heritage of Burhanpur (India) Amit J. Wahurwagh Akshay P. Patil Alpana R. Dongre AFTERWORD A world of attunements Jean-Paul Thibaud

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Book SynopsisIn Mixing with Impact: Learning to Make Musical Choices, Wessel Oltheten discusses the creative and technical concepts behind making a mix. Whether you're a dance producer in your home studio, a live mixer in a club, or an engineer in a big studio, the mindset is largely the same.The same goes for the questions you run into: where do you start? How do you deal with a context in which all the different parts affect each other? How do you avoid getting lost in technique? How do you direct your audience's attention? Why doesn't your mix sound as good as someone else's? How do you maintain your objectivity when you hear the same song a hundred times? How do your speakers affect your perception? What's the difference between one compressor and another?Following a clear structure, this book covers these and many other questions, bringing you closer and closer to answering the most important question of all: how do you tell a story with sound?Trade Review"Every now and then an indispensable book comes along that can profoundly influence you in the development of your audio skills – this might be one of them." David Baer, Sound Bytes"The usual topics of effects, compression, and EQ are covered but in more realistic, hands-on detail than most vague mixing guides usually are fluffed up with. Special attention is given early on to the importance of phase, space, and time and how all these interrelate. One of the best features of this book is that Wessel doesn’t generally hand out specific names of hardware or plug-ins to use but instead educates the user about actual techniques, what type of gear will achieve the desired goals, and why it works. These are the fundamental building blocks of quality mixing; not some whiz-bang plug-in template that claims to always deliver "perfect vocals" or some such lie. Other topics include the practical realities of maintaining objectivity, working with others, and even serving the clients’ needs as opposed to your own ego. Mixing with Impact is a perfect handbook for the mix engineer, and I find myself thumbing through it and nodding my head at all the truth within its pages." Larry Crane, Tape Op Magazine/Jackpot! Recording Studio"All in all, then, Mixing With Impact's 350 pages are packed with useful ideas, up-to-date, well-marshalled information, and great conceptual explanations backed up with lots of useful diagrams. It should help anyone with an open mind, be they seasoned pros or aspiring engineers taking their first tentative steps into the world of mixing, to reflect on and improve their own way of working." Matt Houghton, Sound on Sound Table of ContentsColophonPreface Travel guide for this bookChapter 1: The world of mixing1.1 Who is the mixer?1.2 Why is mixing necessary?1.3 What is the challenge?1.4 On rulesChapter 2: Listening2.1 Perception2.2 Your ear is a compressor2.3 Your ear is an equalizer2.4 Tuning in2.5 A fixed reference2.6 Taking professional care of your earsChapter 3: Laying the foundation 3.1 Before you start3.2 Foundation3.3 Balance3.4 Panning3.5 Mute is your friendChapter 4: The frequency spectrum4.1 Association is key4.2 Masking4.3 The goal of EQ4.4 EQ compassChapter 5: Dynamics5.1 Dynamics versus time5.2 Technical and musical dynamics5.3 Using compressors5.4 Reducing masking with compression5.5 Dynamics and loudnessChapter 6: Space6.1 Hearing space and distance6.2 Simulating space and distance6.3 How reverb works6.4 Using reverb6.5 How delay works6.6. Using delayChapter 7: Time and phase7.1 Interaction7.2 Combining microphones hierarchically7.3 Combining microphones non-hierarchically7.4 Phase manipulationChapter 8: Identity8.1 Innovation, imitation and inspiration8.2 Shaping identityChapter 9: Effects9.1 Distortion - simulating intensity9.1.1 How it works9.1.2 Distortion in a mix9.2 Re-amping - providing context9.2.1 How it works9.2.2 Re-amping in a mix9.3 Modulation - putting things in motion9.3.1 How it works9.3.2 Modulation in a mix9.4 Pitch manipulation - creating what wasn't there9.4.1 How it works9.4.2 Pitch shifting in a mix9.5 Triggering - cause and effect9.5.1 How it works9.5.2 Triggering in a mix9.6 Spectral editing - unreal reality9.6.1 How it works9.6.2 Spectral processing in a mixChapter 10: Automation10.1 Faders for each function10.2 Parallel constructions10.3 Change and conquer10.4 ExpressivityChapter 11: Advanced techniques11.1 The floor: keeping low frequencies in check11.2 The ceiling: creating clear mixes11.3 Securing the house: dynamic interventions11.4 The exterior walls: stereo processing11.5 Beyond the exterior walls: 3D panningChapter 12: Bus Compression12.1 Influence12.2 Choices and settings12.3 Multibus setups: painting on a colored canvasChapter 13: Templates13.1 Time is money13.2 Building templates13.3 Integrating equipment in the 21st centuryChapter 14: Preparing for mastering14.1 Communication14.2 What is a good mix?14.3 Mixbus processing14.4 Stems14.5 Consequences of loudness normalizationChapter 15: Mindset15.1 Doubt is fatal for a mix15.2 Imposed limitations - working in a context15.3 A guide for your mix15.4 Ways to stay freshChapter 16: The outside world16.1 Speaking the same language16.2 Reference tracks16.3 Feedback on the source material16.4 Feedback on the mix: revisions16.5 Working at a distance16.6 ConclusionChapter 17: Tools17.1 Basic acoustics17.1.1 Space17.1.2 Optimization17.2 Monitoring17.3 Subwoofers17.3.1 Why use a subwoofer?17.3.2 Choosing a subwoofer17.3.3 Installing and adjusting17.4 Headphones17.5 How EQ works and its side-effects17.6 How compressors work and their side-effectsIndex

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Book SynopsisLoudspeakers: For Music Recording and Reproduction, Second Edition is a comprehensive guide, offering the tools and understanding needed to cut out the guesswork from loudspeaker choice and set-up. Philip Newell and Keith Holland, with the assistance of Sergio Castro and Julius Newell, combine their years of experience in the design, application, and use of loudspeakers to cover a range of topics from drivers, cabinets, and crossovers, to amplifiers, cables, and surround sound. Whether using loudspeakers in a recording studio, mastering facility, broadcasting studio, film post-production facility, home, or musician's studio, or if you simply aspire to improve your music-production system this book will help you make the right decisions.This new edition provides significant updates on the topics of digital control, calibration, and cinema loudspeaker systems.Trade Review"If electro-acoustics happens to be a subject you wish you understood more, or if before a speaker purchase you'd like to be better informed, there is, as far as I'm aware, absolutely no better place to start." - Phil Ward, Sound on Sound"This new edition finds the book continuing in its place [...] as one of the essential reference books on loudspeakers." - Mark Gander, Journal of the Audio Engineering SocietyTable of ContentsIntroduction 1. What Is a Loudspeaker?2. Diversity of Design 3. Loudspeaker Cabinets 4. Horns5. Crossovers 6. Amplifiers and Loudspeaker Cables - A General Review7. Loudspeaker Behaviour in Rooms 8. Form Follows Function 9. Subjective and Objective Assessment 10. The Mix, the Music and the Monitors - The Instability of Perception 11. Low Frequency and Transient-Response Dilemmas 12. The Challenges of Surround Sound 13. Loudspeakers for Cinema Soundtrack Mixing14. What to Measure: And Why - The Influence of Advanced Measurement and Psychoacoustic Concepts on Loudspeaker DesignGlossary of TermsIndex

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Book SynopsisLoudspeakers: For Music Recording and Reproduction, Second Edition is a comprehensive guide, offering the tools and understanding needed to cut out the guesswork from loudspeaker choice and set-up. Philip Newell and Keith Holland, with the assistance of Sergio Castro and Julius Newell, combine their years of experience in the design, application, and use of loudspeakers to cover a range of topics from drivers, cabinets, and crossovers, to amplifiers, cables, and surround sound. Whether using loudspeakers in a recording studio, mastering facility, broadcasting studio, film post-production facility, home, or musician's studio, or if you simply aspire to improve your music-production system this book will help you make the right decisions.This new edition provides significant updates on the topics of digital control, calibration, and cinema loudspeaker systems.Trade Review"If electro-acoustics happens to be a subject you wish you understood more, or if before a speaker purchase you'd like to be better informed, there is, as far as I'm aware, absolutely no better place to start." - Phil Ward, Sound on Sound"This new edition finds the book continuing in its place [...] as one of the essential reference books on loudspeakers." - Mark Gander, Journal of the Audio Engineering SocietyTable of ContentsIntroduction 1. What Is a Loudspeaker?2. Diversity of Design 3. Loudspeaker Cabinets 4. Horns5. Crossovers 6. Amplifiers and Loudspeaker Cables - A General Review7. Loudspeaker Behaviour in Rooms 8. Form Follows Function 9. Subjective and Objective Assessment 10. The Mix, the Music and the Monitors - The Instability of Perception 11. Low Frequency and Transient-Response Dilemmas 12. The Challenges of Surround Sound 13. Loudspeakers for Cinema Soundtrack Mixing14. What to Measure: And Why - The Influence of Advanced Measurement and Psychoacoustic Concepts on Loudspeaker DesignGlossary of TermsIndex

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Book SynopsisAudio Production and Critical Listening: Technical Ear Training, Second Edition develops your critical and expert listening skills, enabling you to listen to audio like an award-winning engineer. Featuring an accessible writing style, this new edition includes information on objective measurements of sound, technical descriptions of signal processing, and their relationships to subjective impressions of sound. It also includes information on hearing conservation, ear plugs, and listening levels, as well as bias in the listening process.The interactive web browser-based ear training software practice modules provide experience identifying various types of signal processes and manipulations. Working alongside the clear and detailed explanations in the book, this software completes the learning package that will help you train you ears to listen and really hear your recordings.This all-new edition has been updated to include: Audio and psychoaTable of Contents List of Illustrations Introduction Chapter 1: Listening Chapter 2: Tonal Balance and Equalization Chapter 3: Spatial Attributes and Reverberation Chapter 4: Dynamic Range Control Chapter 5: Distortion and Noise Chapter 6: Amplitude Envelope and Audio Edit Points Chapter 7: Analysis of Sound Bibliography Index

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Book SynopsisThe Classic: De Marneffe's work (In French).- The Classic: De Marneffe's work (In French).- Current presentation of his work by De Marneffe.- Current presentation of his work by De Marneffe.- Anatomy and Physiology.- Morphology and Distribution of Blood Vessels and Blood Flow in Bone.- Microvascularization, Osteogenesis, and Myelopoiesis in Normal and Pathological Conditions.- Endothelial Cells and Bone Cells.- History of Discoveries of Bone Marrow and Bone Vascularisation and Innervation.- The Direct Effects of Acidosis and Alkalosis on Long Bone Vascular Resistance.- The Regulation of Blood Flow in Bone.- Methods of Investigation.- Measurement of Bone Blood Flow in Animals.- Arteriolar Blockade Revisited: Comparisons Between the Use of Resin Particles and Microspheres for Bone Haemodynamic Studies.- Measurement of Bone Blood Flow in Humans.- Skeletal Fluoride Kinetics of 18F- and Positron Emission Tomography (PET): in-vivo Estimation of Regional Bone Blood Flow and Influx Rate in Humans.- Intraosseous Pressure, Gas Tension and Bone Blood Flow; in Normal and Pathological Situations: A Survey of Methods and Results.- Fracture Healing and Bone Grafts.- The Role of the Vasculature in Fracture Healing.- Haemodynamics of Bone Healing in a Model Stable Fracture.- Perturbations of Vascularization and Circulation Due to Osteosynthetic Methods.- Comparative Vascular Evaluation by MRI of Autologous and Bovine Grafts.- The Importance of Flow Conductance of Cancellous Bone Grafts as a Critical Factor in Graft Incorporation.- Circulatory Aspects of Bone Disorders.- Myelogenous Osteopathies.- Circulatory Aspects of Bone Disease in Endocrinopathies.- Bone Turnover in Osteoporosis.- Bone Blood Flow and Spaceflight Osteopenia.- Bone Vascularization in Arthritis.- Vascular Aspectsin Degenerative Joint Disorders.- Circulatory Aspects of Reflex Sympathetic Dystrophy.- Osteonecrosis.- Atraumatic Necrosis of the Femoral Head: General Report.- Epidemiology and Risk Factors in Avascular Osteonecrosis of the Femoral Head.- Pathophysiology of Osteonecrosis.- Diagnosis of Osteonecrosis of the Femoral Head.- Bone Biopsy as Diagnostic Criteria for Aseptic Necrosis of the Femoral Head.- The Histology of Osteonecrosis and Its Distinction from Histologic Artifacts.- Bone Arteriography of the Femoral Head of Humans in Normal and Pathological Conditions.- Compared Microangiographic Images of Osteonecrosis of the Femoral Head and Osteoarthritis of the Hip.- Value of Quantified MRI to Predict Long-Term Prognosis of Early Stage Avascular Necrosis of the Femoral Head.- Conservative, Non Invasive Treatment of Osteonecrosis of the Femoral Head.- Long Term Results in Electromagnetic Fields (EMF) Treatment of Osteonecrosis.- Effects of Electric and Electromagnetic Fields on Bone Formation, Bone Circulation and Avascular Necrosis.- The Place of Core Decompression in the Treatment of Osteonecrosis of the Femoral Head.- 300 Cases of Core Decompression with Bone Grafting for Avascular Necrosis of the Femoral Head.- Proximal Femoral Osteotomies in the Treatment of Idiopathic and Steroid-Induced Osteonecrosis of the Femoral Head.- Methodologic Problems in Staging and Evaluating Osteonecrosis.- The ARCO Perspective for Reaching One Uniform Staging System of Osteonecrosis.Table of ContentsCurrent Presentation of his Work; De Marneffe. Anatomy and Physiology: Morphology and Distribution of Blood Vessels and Blood Flow in Bone; M. Brookes. Methods of Investigation: Measurement of Bone Blood Flow in Animals; P. Tothill. Fracture Healing and Bone Grafts: The Role of Vasculature in Fracture Healing; S.P.F. Hughes, et al. Circulatory Aspects of Bone Disorders: Bone Turnovers in Osteoporosis; A.M. Peters. Osteonecrosis: General Aspects of Osteonecrosis: Pathophysiology of Osteonecrosis; J.P. Jones. Methods of Diagnosis: Diagnosis of Osteonecrosis of the Femoral Head; D.S. Hungerford, L.C. Jones. Treatment: Long Term Results in Electromagnetic Fields Treatment of Osteonecrosis; M. Hinsenkamp, et al. ARCO Perspective for Staging: Methodologic Problems in Staging and Evaluating Osteonecrosis; B.N. Stulberg, J.W.M. Gardeniers. 34 additional articles. Index.

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Book SynopsisA history of how humans developed our capacity for conversation—and what might happen now that computers are catching up.Trevor Cox has been described by The Observer as a David Attenborough of the acoustic realm. In Now You're Talking, he takes us on a journey through the wonders of human speech, starting with the evolution of language and our biological capability to speak (and listen), and bringing us up to date with the latest computer technology.Language is what makes us human, and how we speak is integral to our personal identity. But with the invention of sound recording and the arrival of the electrified voice, human communication changed forever; now advances in computer science and artificial intelligence are promising an even greater transformation. And with it come the possibilities to reproduce, manipulate, and replicate the human voice—sometimes with disturbing consequences.Now You're Talking is the fascinating story of our ability to converse. It takes us back to the core of our humanity, asking important questions about what makes us human and how this uniqueness might be threatened. On this illuminating tour we meet vocal coaches and record producers, neuroscientists and computer programmers, whose experience and research provide us with a deeper understanding of something that most of us take for granted—our ability to talk and listen.

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Book SynopsisSonar and Underwater Acoustics brings together all the concepts necessary for designers and users of sonar systems. Unlike other books on this subject, which are often too specialized, this book is accessible to a wider audience. The first part focuses on the acoustic environment, antenna structures, and electric acoustic interface. The latter provides knowledge required to design, as well as the development and implementation of chain processes for an active sonar from the conditioning input to output processing. The reader will find a comprehensive range of all problems encountered in underwater acoustics for a sonar application, from physical phenomena governing the environment and the corresponding constraints, through to the technical definition of transducers and antennas, and the types of signal processing involved. In one section, measures in underwater acoustics are also proposed.Table of ContentsPreface ix PART 1. THE MARINE ENVIRONMENT 1 Part 1. Introduction 3 Chapter 1. Problematics 5 1.1. History 5 1.2. Underwater acoustics 7 1.3. Applications 9 1.4. Comparison with radar 10 1.5. Submarine detection and warfare 11 1.6. Submarine detection 11 1.7. Submarine detection: a veritable challenge 12 1.8. Overcoming the effects of the ocean 13 1.9. Sonar and information processing 16 Chapter 2. Sound Propagation in the Marine Environment 19 2.1. General points 19 2.2. Characteristics of the marine environment 19 2.3. Models used 22 2.4. Propagation phenomena 28 2.5. Application examples 33 Chapter 3. Noises and Reverberation 41 3.1. Classification of ambient noises 41 3.2. Analysis of noise sources 45 3.3. Wenz’ model of sea noise 51 3.4. Directivity of sea noise 52 3.5. Reverberation 55 Chapter 4. Radiated and Inherent Noises 65 4.1. Radiated noise 65 Chapter 5. Transmission of the Acoustic Signal: Sonar Equations 79 5.1. Introduction 79 5.2. Detection contrast and detection index 80 5.3. Transmission equation 81 5.4. Equation of passive sonar 88 5.5. Equation of active sonar 89 PART 2. ACOUSTIC-ELECTRIC INTERFACE ANTENNA STRUCTURES 93 Part 2. Introduction 95 Chapter 6. Electric-acoustic and Acoustic-electric Transformations 97 6.1. Transducers and hydrophones 97 Chapter 7. Performance and Structures of Acoustic Antennas 113 7.1. Antennas and radiation 113 7.2. Structures of sources and antennas 189 Chapter 8. Electronic Transducer-hydrophone Adaptation 211 8.1. Hydrophones 211 8.2. Transducers 243 Chapter 9. Electro-mechano-acoustic Analogies 269 9.1. Methods of studying transducers and hydrophones 269 9.2. Mechanic-electric equivalence 270 9.3. Electric-acoustic equivalence 275 9.4. Finite element method (FEM) 320 PART 3. PROCESSING CHAIN OF ACTIVE SONAR 323 Part 3. Introduction 325 Chapter 10. Selection Criteria in Active Processing 327 10.1. Selection criteria related to propagation 327 10.2. Selection criteria relative to noise 331 10.3. Selection criteria related to reverberation 332 10.4. Selection criteria related to emission power 333 10.5. Selection criteria related to the antenna 335 10.6. Selection criteria for the operating frequency 336 10.7. Selection criteria related to operational considerations 337 10.8. Selection criteria related to the nature of targets 337 Chapter 11. Processing Chain in Active Sonar 341 11.1. General points 341 11.2. Emission 341 11.3. Reception 345 Chapter 12. Basic Theoretical Notions in Active Processing 459 12.1. The Doppler effect 459 12.2. The Doppler effect in active sonar conditions 464 12.3. Treatment of the signal 485 12.4. Choice of an emission signal under active sonar conditions 503 Chapter 13. Measurement in Underwater Acoustics 525 13.1. Introduction 525 13.2. Wave train method 531 13.3. Precautions before measuring 539 13.4. Acoustic measurements and calibrations of transducers 542 13.5. Notion of uncertainty estimation and of maximum tolerated difference 551 13.6. Other types of measurements in underwater acoustics 553 APPENDICES 555 Appendix 1. Logarithmic Scales 557 Appendix 2. Equation of Sound in Fluids 563 Appendix 3. Piezoelectricity Fundamentals 571 Appendix 4. Vector Analysis ?Ï?nFundamentals 579 Appendix 5. Reciprocity Theorem 593 Appendix 6. Concrete Example of Uncertainty Estimation Based on the Reciprocity Calibration Method 601 Bibliography 619 Index 623

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Book SynopsisPoint-of care ultrasound, or ultrasound performed and interpreted by the clinical in the clinic/office or at the bedside, has been rapidly expanding in use among multiple medical specialties. Musculoskeletal ultrasound has added value to clinical care to expedite diagnoses by visualizing mechanical versus inflammatory features and correlating these findings with patient’s symptoms. The use of power Doppler to assess for subclinical inflammation or active hyperemia has been a distinguishing use of ultrasound for rheumatologists. Accurate needle guidance with ultrasound for joint and tendon procedures has allowed expansion of procedures in the clinic and has been associated with less pain and precise targeting of affected structures. Musculoskeletal ultrasound education is now offered in nearly all rheumatology fellowship training programs in the United States and is also included in residency training in other specialties (e.g. physical medicine and rehabilitation, orthopedics, podiatry, emergency medicine, and family medicine). Since the publication of the first edition of Musculoskeletal Ultrasound in Rheumatology Review, there has been tremendous growth of musculoskeletal ultrasound in the field of rheumatology as well as other musculoskeletal specialties.The expanded second edition of this practical guide provides an updated clinical review of diagnostic and interventional applications of musculoskeletal ultrasound in rheumatology. New and revised chapters focus on the use of ultrasound in the diagnosis of specific rheumatic diseases such as osteoarthritis, scleroderma, psoriatic arthritis, gout, and lupus. Each chapter covers a standardized protocol of joint images with probe placement and includes numerous examples of common ultrasound pathologies. Study tools such as key-concept overviews, lists of important studies in the field, and extensive questions for self-assessment are included throughout.Written by current experts and thought leaders in the rapidly advancing field of rheumatology ultrasound, the second edition of Musculoskeletal Ultrasound in Rheumatology Review is an essential reference for physicians and related professionals, residents, fellows, graduate students and nurses in rheumatology, imaging and radiology, sports medicine, internal medicine, and physiotherapy.Table of ContentsPart I. Fundamentals of Musculoskeletal UltrasoundChapter 1: Introduction: Musculoskeletal Ultrasound Indications and FundamentalsChapter 2: Basic Ultrasound Pathology and Implementation of Point-of-Care UltrasoundChapter 3: Ultrasound of the Hand and WristChapter 4: Ultrasound of the ElbowChapter 5: Ultrasound of the ShoulderChapter 6: Ultrasound of the HipChapter 7: Ultrasound of the KneeChapter 8: Ultrasound of the Ankle and FootChapter 9: Ultrasound-Guided InjectionsChapter 10: Pediatric Musculoskeletal UltrasonographyPart II. Rheumatic DiseasesChapter 11: Ultrasound in Rheumatoid ArthritisChapter 12: Use of Ultrasound in Psoriatic Arthritis Chapter 13: Ultrasound in Crystalline Diseases: Gout and calcium associated arthritisChapter 14: Ultrasound in OsteoarthritisChapter 15: Ultrasound in Systemic Sclerosis and Systemic Lupus ErythematosusPart III. Beyond Musculoskeletal UltrasoundChapter 16: Ultrasound in Vasculitis Chapter 17: Sjögren’s syndrome: ultrasoundChapter 18: Lung Ultrasound for Rheumatic DiseasesChapter 19: Advanced Ultrasound Applications: Elastography and Contrast-enhanced Ultrasound

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Book Synopsis

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Book Synopsis

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